|Born||21 November 1900|
|Died||13 July 1976|
Torii Kotondo (鳥居 言人, 21 November 1900 – 13 July 1976) or Torii Kiyotada V (五代目 鳥居 清忠) was a Japanese painter and woodblock printer of the Torii school of ukiyo-e artists. He followed his school's tradition of making prints of kabuki actors ( yakusha-e ) and involvement with commercial work for kabuki theater. His twenty-one bijin-ga (pictures of beautiful women) are particularly celebrated.
Kotondo was born Saitō Akira (斎藤 信) in the Nihonbashi district of Tokyo. Torii Kiyotada IV , the seventh head of the Torii school of ukiyo-e artists, adopted Kotondo at age 15 and trained him in the school's specialty producing yakusha-e , portraits of kabuki actors. Kotondo studied painting under the yamato-e painter Kobori Tomone from 1914 and under Kiyokata Kaburagi from 1918. Most of Kotondo's woodblock prints date from 1927 to 1933.
Kiyokata influenced Kontodo's bijin-ga portraits along with shin hanga designers Goyō Hashiguchi and Itō Shinsui. In 1925 he exhibited some of his bijin-ga at the Inten exhibition. He designed twenty-one prints of bijin-ga which typically were sold in the United States. Seventeen of Kontodo's prints were shown at the seminal shin hanga exhibition at the Toledo Museum of Art in 1936.
Authorities considered Kotondo's print Morning Hair of 1930 provocative and banned it after seventy of its hundred copies had sold and had the remaining thirty destroyed.
When Kiyotada died in 1941 Kotondo became the eighth head of the school and took the name Kiyotada V.
Kotondo lectured at Nihon University in Tokyo from 1966 to 1972.Collectors did not place high value on Kotondo's prints while he was alive; the prints have since appreciated in collectability and fetch prices comparable to those of the great masters.
Ukiyo-e is a genre of Japanese art which flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica. The term ukiyo-e (浮世絵) translates as "picture[s] of the floating world".
Bijin-ga is a generic term for pictures of beautiful women in Japanese art, especially in woodblock printing of the ukiyo-e genre, which predate photography.
Shinsui Itō was the pseudonym of a Nihonga painter and ukiyo-e woodblock print artist in Taishō- and Shōwa-period Japan. He was one of the great names of the shin-hanga art movement, which revitalized the traditional art after it began to decline with the advent of photography in the early 20th century. His real name was Itō Hajime.
Shin-hanga was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods. It maintained the traditional ukiyo-e collaborative system where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the parallel sōsaku-hanga movement which advocated the principles of "self-drawn" (jiga), "self-carved" (jikoku) and "self-printed" (jizuri), according to which the artist, with the desire of expressing the self, is the sole creator of art.
Torii Kiyonaga was a Japanese ukiyo-e artist of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, from Motozaimokuchō Itchōme in Edo, he took on Torii Kiyonaga as an art name. Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.
Utagawa Kunimasa was a Japanese ukiyo-e artist of the Utagawa school. He was originally from Aizu in Iwashiro Province and first worked in a dye shop after arriving in Edo. It was there that he was noticed by Utagawa Toyokuni, to whom he became apprenticed.
Goyō Hashiguchi was an artist in Japan. At the forefront of the shin-hanga movement, a revival of ukiyo-e, he designed fourteen woodblock prints which are regarded as masterpieces of the genre.
Yakusha-e (役者絵), often referred to as "actor prints" in English, are Japanese woodblock prints or, rarely, paintings, of kabuki actors, particularly those done in the ukiyo-e style popular through the Edo period (1603–1867) and into the beginnings of the 20th century. Most strictly, the term yakusha-e refers solely to portraits of individual artists. However, prints of kabuki scenes and of other elements of the world of the theater are very closely related, and were more often than not produced and sold alongside portraits.
The Torii school was a school of ukiyo-e painting and printing founded in Edo. The primary producers of kabuki theater signboards and other promotional materials, the Torii were among those whose work led to the development of ukiyo-e. Their style was one of the primary influences in the ukiyo-e depiction of actors and kabuki scenes for much of the 18th century. Still today, kabuki signboards are sometimes painted by members of the Torii family.
Torii Kiyomitsu was a painter and printmaker of the Torii school of Japanese ukiyo-e art; the son of Torii Kiyonobu II or Torii Kiyomasu II, he was the third head of the school, and was originally called Kamejirō before taking the gō Kiyomitsu. Dividing his work between actor prints and bijinga, he primarily used the benizuri-e technique prolific at the time, which involved using one or two colors of ink on the woodblocks rather than hand-coloring; full-color prints would be introduced later in Kiyomitsu's career, in 1765.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu (楊洲周延), was a prolific woodblock artist of Japan's Meiji (era).
Kiyokata Kaburaki was the art-name of a Nihonga artist and the leading master of the bijin-ga genre in the Taishō and Shōwa eras. His legal name was Kaburaki Ken'ichi. The artist himself used the reading "Kaburaki", but many Western sources transliterate it as "Kaburagi".
Utagawa Toyoharu was a Japanese artist in the ukiyo-e genre, known as the founder of the Utagawa school and for his uki-e pictures that incorporated Western-style geometrical perspective to create a sense of depth.
Chōbunsai Eishi was a Japanese ukiyo-e artist. His last name was Hosoda (細田). His first name was Tokitomi (時富). His common name was Taminosuke (民之丞) and later Yasaburo (弥三郎). Pupil of Kano Eisen'in Michinobu. Born as the first son of direct vassal of the Shogunate, a well-off samurai family that was part of the Fujiwara clan. Eishi was a vassal of the Shogunate with a generous stipend of 500 'koku' of rice. Eishi left his employ with the Shōgun Ieharu to pursue art. His early works were prints, mostly Bijin-ga portraits of tall, thin, graceful beauties in the original style established by himself akin to Kiyonaga and Utamaro. He established his own school and was a rival to Utamaro. He was a prolific painter, and from 1801 gave up print designing to devote himself to painting.
Torii Kiyohiro was a Japanese artist of the Torii school of ukiyo-e.
Kushi is a title given to a print by the Japanese ukiyo-e artist Kitagawa Utamaro. It depicts a woman looking through a clear glass comb.
Paul Binnie is a Scottish artist working in the Japanese tradition of woodblock printing. His work is reflective of the shin-hanga artists of the early to mid-20th century, employing subjects such as landscapes, tattoos, and bijin.
Shiro Kasamatsu was a Japanese engraver and print maker trained in the Shin-Hanga and Sōsaku-Hanga styles of woodblock printing.
Sakuichi Fukazawa was a Japanese painter and woodblock printer working within the sosaku-hanga "creative prints" movement.